谢阁兰笔下的中国形象

发布时间：2018-06-25 10:52

本文选题：中国形象 + 异域情调　；参考：《喀什大学》2015年硕士论文

【摘要】：维克多·谢阁兰是法国著名诗人、作家和汉学家,一生曾三次来华,在中国生活了长达七年之久,产生了浓厚的中国情结,创作了大量以中国为题材的诗歌、散文和小说作品,谢阁兰也因此被誉为“法国的中国诗人”。在19、20世纪初流行猎奇异国新鲜风物的众多异国情调文学作品中,谢阁兰用超前的美学理想与精神追求创作的这些作品在那个时代可谓独树一帜、与众不同。自20世纪60年代起,他的作品引起了越来越多的文学批评家与研究者的研究兴趣。到目前为止,国内外学界对谢阁兰的研究已经渐渐深入,他笔下丰富的中国形象也得到了多种解读。其中最为研究者们认可的一种解读便是将谢阁兰塑造的中国形象视为一个糅合了想象与现实的“中国幻象”。但这个所谓“幻象”的形成机制还是有些模糊不清,对许多具体形象的解读还存有一些误解,而谢阁兰独特的美学追求对他塑造中国形象产生的影响也需要进一步梳理。因此,消除这些误解,以谢阁兰的美学追求为出发点来阐述他塑造的中国形象的独特和创新之处就成了笔者写作本文的初衷和目的。深受尼采哲学影响的谢阁兰最初是抱着滋养想象力、寻找新的非宗教的精神支柱的目的来到中国的。他所寻找的这个精神支柱不是好奇异国奇异风俗与环境而得到的一时满足之感,也不是将“他者”纳入自我精神结构而获得的虚幻的充实之感,而是一种可以带来无限探索空间的美的理想与对“自我”的深刻感受。了解了谢阁兰追寻中国文化的目的,笔者用文本细读的方法,运用形象学理论,打破传统标准,以谢阁兰独特的美学追求为标尺,从多个角度、多个层面归纳了他笔下中国形象的突出特点;抛弃了后殖民主义的僵化思想,回归到具体历史语境当中深入剖析了这些中国形象复杂的塑成因素;以谢阁兰的“异域情调”论为切入点梳理了他的审美趣味对他塑造中国形象产生的影响。做完这些工作后,笔者发现在谢阁兰的笔下,无论是真实的中国形象,还是想象的中国形象,都包含着他追求“差异”的美学理想,所塑造的中国形象都被置于“自我”与“他者”、“真实”与“想象”的张力大网之中。谢阁兰也正是在对中国文化、中国题材的不断了解与挖掘当中,获得了异质文化冲撞所激起的强大的文学力量,借助这股力量他将建立在自由精神世界里的“自我王国”逐渐完善并丰富起来。因此,可以说谢阁兰笔下的中国形象就是一幅以对差异美的热爱和对自我的探索热情为精神基调、以“桃源”想象与“万象”真实为重彩之笔的中国印象画。追寻差异、探索自我是一场没有终点的旅行,而中国就是谢阁兰在这场旅行中遇到的最美的一道风景。他借用中国深厚的文化底蕴,从精神内部发现“差异”、从灵魂深处挖掘“自我”,寻找一切能表达这种对世界以及对自我存在的感受的“形式”,不断探索真实与想象、已知与未知的边界。谢阁兰这样不懈的探索热情,在那个充满迷惘与虚无的时代里是值得肯定与欣赏的。而他终生追求的多样共存的差异美,在如今这个文化仍在趋向同一的时代,也仍能带给我们许多思考和启发。
[Abstract]:Victor Sheffield, a famous French poet, writer and sinologist who had come to China three times in his life, lived for seven years in China, produced a strong Chinese complex, and created a large number of poems, prose and novel works on the subject of China. It was also known as "the Chinese poet in France". In the early 19,20 century, he was popular hunting. Among the many exotic literary works of the strange country, these works are unique and distinctive in the era of the advanced aesthetic ideals and spirit. Since 1960s, his works have aroused the interest of more and more literary critics and researchers. The research in the foreign academics has gone deep into the study of Hsieh LAN, and his rich Chinese image has also been interpreted in many ways. One of the most recognized interprets is to see the image of China as a "Chinese illusion" mixed with imagination and reality. However, the mechanism of the so-called "illusion" is still available. Some misunderstandings are unclear, and there are some misunderstandings on the interpretation of many specific images, and the unique aesthetic pursuit of Hsieh is also needed to be further combed. Therefore, to eliminate these misunderstandings and to expound the unique and innovative points of the Chinese image made by his aesthetic pursuit as a starting point. The original purpose and purpose of writing this article is that the heton, which is deeply influenced by Nietzsche's philosophy, originally came to China with the aim of nourishing the imagination and looking for a new spiritual pillar of non religion. The illusory sense of enrichment that I have gained in my spiritual structure is an ideal of beauty that can bring infinite exploration space and a profound feeling of "self". From many angles, he summed up the prominent features of his Chinese image from many angles, abandoned the rigid thought of post colonialism and returned to the specific historical context to deeply analyze the complex plastic factors of these Chinese images, and carded his aesthetic interest in shaping China with Xie Gelan's "exotic mood" theory as the breakthrough point. After finishing these work, the author finds that in the pen of Hsieh, both the real Chinese image and the imaginary Chinese image contain his aesthetic ideal of "difference", and the image of China is placed in the tension of "self" and "his person", "truth" and "imagination". Xie Gelan is also in the process of the continuous understanding and excavation of Chinese culture and Chinese themes and the powerful literary power aroused by the collision of heterogeneous culture. The "self kingdom" which he will build in the free spirit world is gradually perfected and enriched with the help of this force. On the basis of the love of the beauty of difference and the passion for self exploration, the Chinese impression painting of "Taoyuan" imagination and the true color of "Vientiane". Pursuing the difference, exploring the self is a journey without end, and China is the most beautiful landscape in this trip. In the cultural background, the "difference" is discovered from the inner spirit, the "self" is excavated from the soul, the "form" that can express this kind of expression to the world and the feelings of self existence, and to explore the truth and imagination, the known and the unknown boundary. It is worth affirming and appreciating, and the diversity of the diversity of coexistence that he has pursued throughout his life is still able to bring us a lot of thought and inspiration in the time that the culture is still in the same age.
【学位授予单位】：喀什大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I565.06

【参考文献】